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loop X. Pane 30 ?╟÷ GOLD COAST SUN Thursday,Tebraary 6,1986 ?╟ Starz?╟╓ is journey of a lifetime ?╟úSTARZ?╟Ñ, ?╟úA Musical Journey into Time?╟Ñ has set a new international standard for Queen tland. There is no going back to the old worn-out female impersonating shows or Saturday night at the club affairs. The new production by American Jerry Jackson at the International Room of the Conrad Interna- tional is an extravagant kaleidoscope of scenery, special effects and choreo- graphy. It is first class enter- tainment, richly mounted and professionally ex- ecuted in an auditorium where no one misses any of it. Produced by Jim McDonald, of Delicado Productions, created by Jerry Jackson and starring Ron and Joleen Watson, George Carl, Barclay Shaw, Noel Talbot and Chuck McKinney, it is slick and eye-boggling from start to finish. Apart from the cos- tumes and special effects, the main star of the show is dancer, Joleen Watson. As the heroine in the Australia 1896 bar-room segment and in the Paris 1901 Le Can Can, she was superb and beautiful. Even though there was little of Seven Brides for even Brothers and Slaughter on Tenth Avenue in the Australiana bit, it was all good fun and delighted the press pre- view night audiences. Among Jerry Jackson?╟╓s Broadway credits is ?╟úSeven Brides?╟Ñ, so it was not so surprising for the Starz show to feature some spectacular acrobatic choreography. Joleen got good support from partner Ron and the dancers, particularly Robert McCullogh and his team, Danielle Goullet and Price and McCoy, a comedy acrobatic team. Woven into this 100- minute ?╟úspace trip?╟╓?╟╓ through the musical ages are individual spots featur- ing some very clever performers. The silent comic George Carl showed why he has wooed audiences from the Crazy Horse Saloon in Paris to Royal Variety Show appearances with a touch of Chaplin. Barclay Shaw, with his marionettes, introduced local audiences to Madame Clara Cluck, By Mark Daniel billed as ?╟úThe world?╟╓s foulest chicken?╟Ñ. Her material is new, sometimes vulgar but rib- tickling. Anita Ortega presented classic Spanish flamenco that conjured up all the excitement of the bull- ring. Petite, but a perfec- tionist, she and her com- pany were one of the ma- jor highlights of the Starz show. Just so you don?╟╓t get lost on your way to the Starz, the show opens with American Chuck McKinley as our guide in a space journey from the future 2020 back to Venice 1762, Australia 1896, New York 1936/ Spain 1880, Paris 1901 and Australia 1965-85. Thank goodness, Edna was missing. It is all a mixture of Star Wars, the Black Hole, Wonderwoman, the Follies, the Great White Way, Superbowl and Woolshed, as the singers and dancers romp vigorously through some well-worn and new num- bers. If anything, the songs are possibly the weakest link of the show, if there is a weak link. I would have preferred more new material. I seem to recall ?╟úI Still Call Australia My Home?╟Ñ, the Peter Allen song, has been used for at least four finales in the last two years and may be wearing a little thin even for we Ockers. The scenery is won- derful and designed by Charles Lisanby, a man nominated for Emmy Awards nine times inelud- ing ?╟úBaryshnikov on Broadway?╟Ñ and many of television?╟╓s biggest stars. The Venetian staging, complete with gondolier, was luxurious. Bob Kiernan?╟╓s lighting designs are dazzling and along with the costumes the real scene stealers. The spaceship blast-off was almost as real as Cape Canaveral. Bob has been Frank Sinatra?╟╓s production and ligh'ting.?╟?i4^,^t9|.C since^ 1968 and it Is little wonder ^ he was involved with the Los Angeles Olympic or- ganising committee and the Presidential Inaugural Gala in 1981. Bob brought Spielberg on stage at Broadbeach and the adults were spell- bound and space-awed. The original music and lyrics, and we could do with more of them rather than old tried and true, by Jerry Jackson and Gary Poirot, are well backed by musical arranger Greg Bosler,- vocal arranger Gary Poirot and musical director Doug Surman and his orchestra. Music for ?╟úFuture 2020?╟Ñ is arranged by Jeff Hull and Ross Hutchison is assistant choreographer. Cj r~) Starz producer, Jim McDonald is delighted with dancers, Lita Stathis, Mary Anne Harding and Tracey Hartin. Photo: Barry O'Callaghan. A clown dives through the mouth of a giant painting during one stage setting of the Starz musical. Photo: Barry O'Callaghan. McDonald's masterpiece THE musical review, Starz, which began its season at the International Showroom of the Conrad International Hotel and Jupitprs Casino recently, has been playing to near-capacity audiences ever since. ^ Described by pro- ducer, Jim McDonald, of Delicado Productions, as the biggest variety show ever presented in Australia, Starz uses more than 30 set changes and 185 cos- tume designs a it evokes the fantasy flight of a space ship against various cultures and time zones. Mr McDonald had many years with the St George Leagues Club before coming to the Gold Coat where he was the first person to pro- duce a major show ?╟÷ My Fair Lady ?╜?╟÷ for the Twin Towns Service? Club. He followed this up with the Black and White Minstrel Show and such top enter-? tainers as Tina Turner^ Glen Campbell, Roy Or- bison, The Shadows and Gena Pitney. At Seagulls Rugby Leagues Club, he pro- duce d IJesus Christ Superstar, starring Marcia Hines and Doug Parkinson. Asked by the Conrad organisation to devise a show for the Gold Coast Casino, he went to the United States and persuaded director and choreographer Jerry Jackson to direct Starz. Mr McDonald devised the concept of the show which, he says, has brought dignity back to variety. % Robot dancers take part in an action packed scene with a spaceship take-off that makes you, feel like you are at Cape Canaveral. Photo: Barry CIH